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Chicano represents a cultural identity that is neither fully "American" or "Mexican." Chicano culture embodies the "in-between" nature of cultural hybridity. [101] Central aspects of Chicano culture include lowriding, hip hop, rock, graffiti art, theater, muralism, visual art, literature, poetry, and more. Mexican American celebrities, artists ...
Before this, Chicano/a had been a term of derision, adopted by some Pachucos as an expression of defiance to Anglo-American society. [14] With the rise of Chicanismo, Chicano/a became a reclaimed term in the 1960s and 1970s, used to express political autonomy, ethnic and cultural solidarity, and pride in being of Indigenous descent, diverging from the assimilationist Mexican-American identity.
Chicanismo emerged as the cultural consciousness behind the Chicano Movement.The central aspect of Chicanismo is the identification of Chicanos with their Indigenous American roots to create an affinity with the notion that they are native to the land rather than immigrants. [1]
During the 1930s and 1940s, the Chicano look known as pachuco appeared and was associated with the zoot suit and hep cat subcultures. [13] The press at the time accused the pachucos in the U.S. of gang membership, petty criminality, and a lack of patriotism during World War II leading to the Zoot Suit Riots . [ 14 ]
Chicano art even embraced the vandalistic expressions of graffiti. Art in the barrio also incorporates graffiti as a form of artistic expression, often associated with subcultures that rebel against authority. Graffiti has origins in the beginnings of hip hop culture in the 1970s in New York City, alongside rhyming, b-boying, and beats.
Jenny Anna Santos was born and raised in Los Angeles, CA. She is a community activist who speaks up for staying connected to ones roots. In preschool, Jenny remembers being told by her teacher ...
Chicano nationalism allowed Chicanos to define themselves as a group on their own terms, and was a determination on their part to mold their own destiny. It is rooted in the Aztec creation myth of Aztlán , a "northerly place".
Chicano pioneer Beto de la Rocha, who was part of the landmark 1974 exhibition at LACMA by Los Four, struggles to remember parts of his life, but at 85 he continues to paint.